Title: 直接上手！ | BestBlogs.dev
URL Source: https://www.bestblogs.dev/article/46b4a2fc26?amp%3Butm_medium=feed&%3Butm_campaign=resources&%3Bentry=rss_article_item
Published Time: 2026-07-12 21:48:00
Markdown Content: 78
直接上手！
The article describes how late Qing dynasty painter Gao Qipei used finger painting to recreate the poetic imagery of Du Ling, analyzing his artistic process of using fingers instead of brushes and integrating the poem's sense of desolation and loneliness into his work.
Summary
People's Daily reports on how late Qing dynasty painter Gao Qipei abandoned the brush in his later years to create the "Axis of Poetry Imagery from Du Ling" using finger painting. The article points out that rather than painting landscapes directly from life, Gao Qipei transformed the emotions of "desolation and loneliness" from Du Fu's poetry into ink traces left by his fingertips, finger pads, palms, and the back of his hands, achieving a cross-era dialogue of reading poetry through painting. The painting bears only the four characters "Du Ling Shi Yi" (Poetry Imagery from Du Ling), concise and meaningful, symbolizing the profound connection of minds between poet and painter. Through descriptions of technique, artistic conception, and the artist's state of mind, the article showcases the clear and expansive artistic effect brought by finger painting, as well as the artist's detached realm achieved after a lifetime of wandering.
Main Points
* 1. Gao Qipei created the "Axis of Poetry Imagery from Du Ling" using finger painting rather than brushwork.
The article notes that in his later years, Gao Qipei abandoned the brush, applying ink directly from the inkstone with his fingers and painting with fingertips, finger pads, palms, and the back of his hands, reflecting his artistic pursuit of returning to simplicity.
* 2. The painting's imagery originates from the farewell scene in Du Fu's poetry, rather than literal landscapes.
The author emphasizes that rather than painting landscapes directly from life, Gao Qipei transformed the emotions of "desolation and loneliness" from Du Ling's poetry into finger painting strokes, achieving a cross-era dialogue of reading poetry through painting.
* 3. The work distills a thousand years of poetic sentiment through its four-character self-inscription.
The painting bears only the four characters "Du Ling Shi Yi," concise and meaningful, symbolizing the profound connection of minds between poet and painter, avoiding the blunt copying of poetry or tracing of characters.
* 4. The expansive and serene aesthetic brought by finger painting.
The article argues that using fingers to apply ink gives the painting a more serene and expansive quality, reflecting a shared literary spirit, and embodies the artist's detached realm achieved after a lifetime of wandering.
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人民网 2026-07-12 21:48 北京
!Image 1 
百年前
已至暮年的高其佩
从繁杂事务中脱身
潜心绘画
这一日
他并未提笔
反倒将手指探入砚池——
指尖、指腹、手掌、手背
都是他的画笔
他要画的
不是眼前之山水
而是千年前杜陵诗中的
那一场揖别
看画中——
指尖指腹勾出
小桥流水、蜿蜒小径
灵动毕现
手掌手背挥洒
山石苍林、葱郁草木
苍古天成
溪畔茅舍半隐
柴门外两位高士躬身作揖
一拱手
便是半生辗转的句点
他在画上自题“杜陵诗意”
四字写尽，不多一言
是隔了千年的致敬——
不抄诗，不摹字
只把诗里的淡漠与寂寥
化入指尖的每一道墨痕
此刻
画者高其佩
在半生辗转后
舍笔用指
于指墨间
获得归于淡泊的旷达
诗意入指
指落墨生
终成这满纸清旷、一脉文心
这不是写生
不是凭空创作
而是一场跨越千年的以画读诗
因为懂得，所以入画
因为淡然，所以辽阔
《杜陵诗意图轴》（清）高其佩
宠粉时刻 “每日读画”栏目主打“AI+美术 经典”
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来源｜人民日报社文艺部 人民网 中国美术学院
文案|王蕾淋 责编｜行家玮编辑｜赵雯 阅读原文