"苔痕上階綠，草色入簾青”。
從唐代一直到明、清時(shí)期，文人書房的室內(nèi)布置隨著建筑的變化、人們起居方式的演進(jìn)、社會(huì)審美觀念的變革、貧富貴賤的差異而環(huán)境面貌大相徑庭。明、清兩代，生活富足的文人士大夫們對(duì)讀書環(huán)境的講究蔚然成風(fēng)，但他們的追求更著重于自己的情趣和理想。
Moss-scarred upper-grade green, The grass is green into the curtain.
From the Tang Dynasty to the Ming and Qing Dynasties, the interior layout of the literati's study room was very different with the changes in architecture, the evolution of people's living styles, the change of social aesthetic concepts, and the differences between rich and poor, high and low. In the Ming and Qing dynasties, it became common practice for literati and officials with affluent lives to pay attention to the reading environment, but their pursuit focused more on their own interests and ideals.
在江南文人的書房里，講究的是精致、典雅，風(fēng)情之致。如《長(zhǎng)物志》中反復(fù)指出：“即如圖書鼎彝之屬，亦須安設(shè)得所，方如圖畫，云林清闥，高梧古石中，僅一幾一榻，令人想見其風(fēng)致，真令神骨俱冷。故韻士所居入門便有一種高雅絕俗之趣?！惫艜r(shí)文人對(duì)書房功能與環(huán)境的追求，是祈求通過事物本質(zhì)的屬性來實(shí)現(xiàn)其給人以銘心的審美享受。
In the study rooms of literati in the south of the Yangtze River, exquisiteness, elegance and style are emphasized. For example, it is repeatedly pointed out in "Chang Wu Zhi": "Even if it belongs to the Ding Yi in the book, it must be settled. It is like a picture. There are only a few couches among the ancient stones in the Yunlin Qingmen, which make people want to see them. The style is really chilling. Therefore, the entrance of Yunshi’s residence has a kind of elegance and vulgarity.” The ancient literati’s pursuit of the function and environment of the study room is to pray for the realization of it through the nature of things and aesthetic pleasure.
書房之美不在繁復(fù)，而在精巧，恰如一件紫檀嵌百寶麒麟圈背交椅，椅圈曲線弧度柔和自如，麒麟紋圈，穩(wěn)重端莊，前足底部安置腳踏板，裝飾實(shí)用兩相宜。線條優(yōu)美流暢，結(jié)構(gòu)精巧，沉靜肅穆。紫檀鑲嵌回紋線平頭案與之配搭，于無聲處彰顯極致的精巧。
The beauty of the study is not complicated, but exquisite, just like a red sandalwood chair inlaid with a hundred precious unicorn circle back, the chair circle has a soft and comfortable curve, and the unicorn pattern circle is stable and dignified. The lines are beautiful and smooth, the structure is exquisite, quiet and solemn. The red sandalwood inlaid fretwork flat-top table is matched with it, showing the ultimate delicacy in the silent place.
And Zeng Fanzhi's "Portrait" is like a touch of detachment in the quiet rosewood.
靜與動(dòng)，繁與簡(jiǎn)，皆是表達(dá)。
Static and dynamic, complicated and simple, all are expressions.
