吃墨水
前言：想要写出一篇令人眼前一亮的文章吗？我们特意为您整理了5篇吃墨水范文，相信会为您的写作带来帮助，发现更多的写作思路和灵感。
吃墨水范文第1篇
陕西大荔县旧称“同州府”，位于黄、洛、渭三河汇流之地，素有“三秦通衢”、“三辅重镇”之称。三河汇流，不仅冲刷出了广袤无垠的大平原，也孕育出了独具一方特色的饮食文化，“水磨丝”就是大荔地区颇负盛名的一道美食。
“大荔水磨丝”其实是一道凉拌的下酒菜。下酒菜能够成为一个地区的传统名菜，且让八方食客津津乐道，过口不忘，是很难得的。
作为大荔县传统佳肴的“水磨丝”，据说是由唐代韦巨源《烧尾食单》中的“羊皮花丝”一菜演变而来。此菜端上桌时，我们一行八人全都惊呆了：盘中密密地码着小山一般的萝卜丝。那丝，白如玉，细如线，精致异常；上面均匀地撒了些香菜末儿、葱花、五色皮蛋丝，看着就赏心悦目。而且这盘萝卜丝还拌入了香油、芝麻酱、白醋、白酱油和芥末，所以夹到嘴里，酸而脆，细而筋，香而软，滑而爽，齿间咯咯有声，口感极佳！
难道萝卜丝也能做出这等美味？面对我们的疑问，当地朋友笑而不答，却让我们猜这道菜的主料是什么。难道这不是一盘萝卜丝？大伙猜了半天也没猜中，最后还是当地朋友揭开了谜底：这盘“水磨丝”竟然是猪耳朵做的！
据当地朋友介绍，“水磨丝”这道美食距今已有二百多年的历史了，这道菜虽说用料普通，但绝对讲究刀功！将一只煮熟的猪耳朵压平，顺着平面用刀片开，片成纸一般的薄片，然后再将薄片切成线一样的细丝，最后加入各种调料、佐料，拌匀而成。因片片儿的过程中，猪耳朵会出现水磨石般的花纹，且其丝柔软蓬松，用筷子抖动时有水波浪之感，所以当地人就给这道菜取了个形象而美妙的名字：“水磨丝”。
“水磨丝”堪称国内烹饪界“刀工的典范”，因为这道美食的关键之处在于刀功：一般的家庭主妇只能将猪耳朵片3片左右，而当地的厨艺高手，却能将厚一厘米、重约150克的猪耳朵，娴熟地片成23片之多！然后再把这23片猪耳朵切成近千条长约10厘米的细丝！高手切出的细线，细如毛发，竟能穿针！真是令人叹为观止。
吃墨水范文第2篇
——-题记
踏上天涯的路，有谁染指沉浮。一袭青衣作罢，俯身遥望归路。曾几何时幻想，云里雾里征途。寻觅人间冷暖，终究入了黄土。心中所剩迷途，到了哪间茅屋？奈何山花烂漫，一朝散尽落幕。
喜欢故事里的镜花水月，忘记一段流年的情。即使花儿开满了枝头，依然可以见到当初的你和我相依的画面。不用担心一身青衣淹没在茫茫人海中，墨迹可以染花你的衣衫，却无法改变你的那颗心。行走在川上，喜欢一路悲歌。此时的你再也无法顾及沿途的风景，水中倒影人消瘦，你亦在彷徨……
冰凉的月光，年华也成了霜雪。舞台上的你本就入了戏，你成了那个不可或缺的棋子，你不愿舍去那些看你的人啊，你涂上了厚厚的粉妆，穿戴了素装，没有花旦的姹紫嫣红，但有青衣的情意绵绵，你总是迷失在剧本与现实之中，你开始疏远了那些观众，你游离在了光与影之外，你开始变得敏感，你不再对什么都显得无动声色，你更喜欢打着阳光调，吟唱过往时光……
花儿红遍了整个春天，却无法在你的眉间觅得一丝笑靥。当秋天的繁花落尽，一切却又变得如梦似烟。你活在自己的世界里，你把一切都变得遥远，就像彼岸的紫丁香，只会出现在梦里，引起人心中的一份遐想！
青衣本有情，可是当你付诸的情都滴落大海的时候，你是否也感觉到了绝望？就像你试图踏足你所能企及的每一个地方，可是你做不到。你希望珍惜你生命里的每一个过客，却也力不从心。到最后，你也只能牵强地说：过客只是过客。别人听的心灰意冷，你也不再妄自轻狂。你骗了自己，你实际是在乎的，你只是不愿意舍弃，舍弃你的那颗心。
你不敢想象，当你行驶在旅途中，一个吸引你的地方出现了，你不再前行，而是停下脚步，独自倾心，你喜欢平静的生活，可是你说青衣，你有你改变不了的宿命。你不可以放弃它们，因为放弃它们就是背叛自己。
你洞开了角色的灵魂，你成了舞台的主宰。所有的悲欢离合都成了沧海，你忘记了，或者说是与其融为一体。他的悲欢离合让你触目惊心，你无法自拔，因为你陷进了人物的心灵你端望着整个世界，却没想到终究只是一场繁华。
皓月当空，你依然是一个，一个人行走，无论白天与黑夜的行走，很多人都与你擦肩而过，他们甚至感觉不到你的气息，你当然也总是面无表情，恰似如画皮，没有人看见你的那一面。
茧蜕成蝶，你耗尽全部的情感演了一出霸王别姬，你的深情，成了乌江的眼泪，你的一曲相思引，造就了虞姬的千古红颜。没有人看见，你此刻纠结的心，因为他们不知道，你的华丽妆容下，有着一颗脆弱的心……
吃墨水范文第3篇
材料：水磨年糕200克、青菜100克、枸杞5克、盐适量、油适量。
做法：1、将水磨年糕去膜，浸泡，洗净，捞出，洌水备用；
2、锅内放入清水800毫升，加枸杞一小撮，煮沸；
3、煮沸的清水，加年糕，不断搅拌，防止粘锅；
吃墨水范文第4篇
When an ancient Chinese artist chose natural sceneries such as plants, birds and animals as the objects in his paintings, he had been determined to remain in privity with the Nature, observing his objects in lasting silence. Then, he would wet his brushes with water and ink, and painted on the rice paper the Nature that he was conversing with. Please note that the Nature then was not a sheer object. It had been imbued with new elements - the soul and understanding of the artist. By doing so, the artist had painted such a picture - the appearance of life with the unique Chinese concept of the unison between the Nature and the man.
The Chinese painting is the only major painting in the world that is not classified according to the tools used. However, it may just be the opposite, because some people name the Chinese painting directly as the “water-ink painting” Therefore, we can only explain it this way: by naming so, it shows the extreme attention the Chinese pay to the water-ink, the aboriginal Chinese material that has been regarded as the essence of traditional visual art.
The Chinese painting is the art of ink. Ink is dark, and the nature of Chinese art is the relationship among ink, brushes and paper. The ink is yang, infiltrating into the rice paper actively, while the rice paper is yin, absorbing the ink. They form the contrast between yin and yang, dark and white. Another element between them is the brush. There are changes in the ink, rice paper and brush, their individual changes amounting to numerous changes. That is the Chinese philosophy. How can one tell all the changes within?
If we say that the Western painting is the art under the sun that can arouse people’s passion, then the traditional Chinese painting is the art under the starlight, which is a return to one’s ego. Without the echoing in such feelings as joy, anger, sadness and happiness, however, it can bring about a space for introspection and the presentation of an eternal question.
Some Western scholars used to call China the region most typical of the culture of colour dark. Seen from the Chinese philosophy before the 3 BC, dark and white, which can hardly be called colours, are the richest in philosophical meaning. Between them, it seems that dark is more profound and mysterious. Why did the colour dark remind the ancient Chinese philosophers of the fundament of the universe? This might have something to do with the abstract and transcending nature of the colour itself. At the beginning of the Chinese philosophy, the priori nature of the colour dark had been understood by the philosophers. Interestingly, to the Han nationality, dark does not mean death and terror, which is different from in many Western nationalities. People in the Xia Dynasty, the first dynasty in the Chinese history, worshipped the colour dark and made it their official colour. The doors of the residences in the places which belonged to Qin Kingdom in ancient times are still painted dark today. To the Han nationality and some ethnic minorities, the dark colour is respectful and awe-inspiring, a feeling that implies the thought about and yearning for the eternity, and an admiration for the serenity, steadiness and magnanimity of the colour dark among all kinds of colours. Forming an interesting contrast, the contemporary impressionists restored man’s feeling about colours in painting to the scientific natural basis after the European painting had evolved for several thousand years and declared that there was no colour of dark in the Nature. The Chinese, however, suddenly belittled colours in painting and worshipped water and ink in the Tang Dynasty during the 6 AD. Wang Wei, a famous poet and artist in the Tang Dynasty, said: “The water and ink are the most important in painting. The painters should begin with the depiction of the Nature, and make the pictures perfect with their own creative work.”Zhang Yanyuan explained in The Famous Paintings of All Dynasties that Chinese painters of more than 1000 years ago did not believe that the “five colours”the eyes saw could be “pursued”and that only the darkness of ink transcended man’s senses and could reflect lights and the shadows. This is the rule of the Chinese water-ink painting. The simple and dogmatic arguments of Wang Wei and Zhang Yanyuan fit well with the cultural and knowledge structure of the Chinese literati, and pushed the water-ink painting towards the abstruse and the Zen culture. The implications of the language of ink and brushes are increasingly closer to the Chinese philosophy until finally a system of black and white painting is finally formed which is unique in the human civilization - the water-ink painting.
In fact, we had better say that the colour dark follows closest to the golden mean rather than being extreme because the mixture of various colours is close to the colour dark. This implies that the colour dark is the most comprehensive and it keeps the same distance with almost all colours, which indicates its neutralization and self-sufficiency. It takes up all light and mixes all colours.
Black and white are therefore regarded as the loftiest colours in traditional Chinese painting. Meanwhile, traditional Chinese painting and calligraphy also hold that dots and lines are the most difficult to depict in all art elements. Chinese calligraphy and painting are just the combination of the two. Black and white are colours themselves while dots and lines are adopted to depict space. This is parallel to the fact that the force of fist comes from the body rather than the fist itself. “The impact of ink”comes from the mighty force of thoughts and instruments.
It is water that has accompanied the different tones of ink. The ink and the water complement each other and introduce numerous changes. This is what the Chinese literati pursue in the “fun of ink”n water-ink painting. Comparatively speaking, the figure and colour in painting are not as important. Since the mid-Tang Dynasty, the Chinese painting has finally embarked on a road that stresses on water and ink.
But in fact, the ink itself is rich. The ancient theory for Chinese painting said that “The ink had five colours” This means that the ink is not dull with no variation. With dark and light tones, the ink can be just as rich and enduring as the five colours in riotous profusion.
吃墨水范文第5篇
于是，山水画，便成为了艺术家们表达爱恨情仇和笔意的最富有的题材和对象。它不仅是中国人情思中最为厚重的沉淀之一，更是通过这山水之外的山水所表现出来的，人们有史以来“以山为德、以水为性”的内在修性。于是，那一草一木，那一石一峰，那一泉一涧，也便有了思想，有了精神，有了灵魂。这种意蕴和感悟，在田在武先生的作品中，便被表现得淋漓之至。
真正认识田先生，是从他的《天净沙》开始的。这是一幅色彩平实无华，用笔肃穆淡雅，空间充盈饱满又不乏空灵流韵之作。连绵的远山，或裸石林立，或横卧如丘，或曲径蜿蜒，山间、云雾几许，似飞若絮，近嵌山体，远接青天，给人以雨后初晴、天地一色、若尘若仙之美；眼前高树近枝，密而不乱，或横或斜，或单或丛，或青翠欲滴，或叶黄欲飞，与远山柔云遥相呼应；题跋笔体细小，片生片连，一若祥云高挂天边，又若鸿雁渐行渐远，与整幅画体浑然天成，可谓尽得其妙。顿时，“空山新雨后，天气晚来秋”那种清新和空灵自心中油然而生，这就恰好有意无意地诠释了马致远《天净沙・秋思》的另一层含义，完成了吴西逸《天净沙・闲题》的完美切合。
中国书画之妙，妙于意境，中国书画之精，精于笔墨。虚至极，极至大空，静至极，极至真情。说到这里，这就不得不提到田先生的另一幅大作《印象红叶谷》。红叶谷是田先生家乡最自然、最纯真的天然美景。这里，没有人为的雕刻，没有虚幻的故事，有的只是人与自然的完美和谐，有的只是心灵与圣灵的对话。田先生将人们这种崇尚人与自然的共存共融，渴望达到一种“天人合一”的境界之思维随性而作，以梦为线，化幻为境，以心为色，洒墨为情，为我们呈现了一个艺术家高雅志趣和一腔真情。
该画画幅巨大，采用240cmx180cm竖幅版式。画风一扫一贯擅长的浅墨轻淡、实空相间之常态，取而代之以偏暖的红紫为基色，全幅全景，表达了作者对家乡对故土那份眷恋，那份不舍，那份挚爱。全幅墨线密集，色相饱满，畅意处若行云流水，墨见五彩，柔情万种；狂放处枯意见骨，笔断意连。画山，绵绵不绝；画枝，质感入丝；画水，波光粼粼。山水亭榭，笔笔入心。静心若闻鸟语，细瞧明月有声，读者无不似有“人在墨中走，心在画中游”之感慨。若不是作者对那些凡尘世俗的杂念剔除身外，若不是作者对家乡的山水了熟于心，若没有作者对传统与现代技法的纳古出新，若没有作者对万物生灵的深刻透悟，这种画质的静美、这种内在的力量也只能是有意无力或是力不从心了。
我们从田先生的山水中，不仅能体味到具有老子思想的精神内涵，奇特、博大、谲，藏着道骨仙风的山，也能体味到梦幻中，飘渺幻化之意象，精神家园的梦中之山。田先生对整体实物完美掌控能力和笔墨色彩的灵活运用不仅得益于他二十余年来对传统与现代书画笔墨孜孜不倦的吸纳、比较与研究，更得益于他善意尽美的文学修养和内心深处的那份纯真与追求。
田先生是一个谦虚谨慎，不善多言，情感细腻，为人忠厚之人。如果说能埋头专攻于业、洁身自好，是促使他创作出优秀作品的基本来源，那热爱生活、淡泊名利便是促使他走向艺术巅峰的根本品性。
我们从他的画中，分明感受到了一种独特的山魂与灵气。也从他那一幅幅浓淡墨色转换间，感悟出了他那善美品格与至高境界。