前言：想要寫出一篇令人眼前一亮的文章嗎？我們特意為您整理了5篇吃墨水范文，相信會為您的寫作帶來幫助，發(fā)現(xiàn)更多的寫作思路和靈感。

吃墨水范文第1篇

陜西大荔縣舊稱“同州府”，位于黃、洛、渭三河匯流之地，素有“三秦通衢”、“三輔重鎮(zhèn)”之稱。三河匯流，不僅沖刷出了廣袤無垠的大平原，也孕育出了獨具一方特色的飲食文化，“水磨絲”就是大荔地區(qū)頗負盛名的一道美食。

“大荔水磨絲”其實是一道涼拌的下酒菜。下酒菜能夠成為一個地區(qū)的傳統(tǒng)名菜，且讓八方食客津津樂道，過口不忘，是很難得的。

作為大荔縣傳統(tǒng)佳肴的“水磨絲”，據(jù)說是由唐代韋巨源《燒尾食單》中的“羊皮花絲”一菜演變而來。此菜端上桌時，我們一行八人全都驚呆了：盤中密密地碼著小山一般的蘿卜絲。那絲，白如玉，細如線，精致異常；上面均勻地撒了些香菜末兒、蔥花、五色皮蛋絲，看著就賞心悅目。而且這盤蘿卜絲還拌入了香油、芝麻醬、白醋、白醬油和芥末，所以夾到嘴里，酸而脆，細而筋，香而軟，滑而爽，齒間咯咯有聲，口感極佳！

難道蘿卜絲也能做出這等美味？面對我們的疑問，當?shù)嘏笥研Χ淮穑瑓s讓我們猜這道菜的主料是什么。難道這不是一盤蘿卜絲？大伙猜了半天也沒猜中，最后還是當?shù)嘏笥呀议_了謎底：這盤“水磨絲”竟然是豬耳朵做的！

據(jù)當?shù)嘏笥呀榻B，“水磨絲”這道美食距今已有二百多年的歷史了，這道菜雖說用料普通，但絕對講究刀功！將一只煮熟的豬耳朵壓平，順著平面用刀片開，片成紙一般的薄片，然后再將薄片切成線一樣的細絲，最后加入各種調(diào)料、佐料，拌勻而成。因片片兒的過程中，豬耳朵會出現(xiàn)水磨石般的花紋，且其絲柔軟蓬松，用筷子抖動時有水波浪之感，所以當?shù)厝司徒o這道菜取了個形象而美妙的名字：“水磨絲”。

“水磨絲”堪稱國內(nèi)烹飪界“刀工的典范”，因為這道美食的關(guān)鍵之處在于刀功：一般的家庭主婦只能將豬耳朵片3片左右，而當?shù)氐膹N藝高手，卻能將厚一厘米、重約150克的豬耳朵，嫻熟地片成23片之多！然后再把這23片豬耳朵切成近千條長約10厘米的細絲！高手切出的細線，細如毛發(fā)，竟能穿針！真是令人嘆為觀止。

吃墨水范文第2篇

——-題記

踏上天涯的路，有誰染指沉浮。一襲青衣作罷，俯身遙望歸路。曾幾何時幻想，云里霧里征途。尋覓人間冷暖，終究入了黃土。心中所剩迷途，到了哪間茅屋？奈何山花爛漫，一朝散盡落幕。

喜歡故事里的鏡花水月，忘記一段流年的情。即使花兒開滿了枝頭，依然可以見到當初的你和我相依的畫面。不用擔心一身青衣淹沒在茫茫人海中，墨跡可以染花你的衣衫，卻無法改變你的那顆心。行走在川上，喜歡一路悲歌。此時的你再也無法顧及沿途的風景，水中倒影人消瘦，你亦在彷徨……

冰涼的月光，年華也成了霜雪。舞臺上的你本就入了戲，你成了那個不可或缺的棋子，你不愿舍去那些看你的人啊，你涂上了厚厚的粉妝，穿戴了素裝，沒有花旦的姹紫嫣紅，但有青衣的情意綿綿，你總是迷失在劇本與現(xiàn)實之中，你開始疏遠了那些觀眾，你游離在了光與影之外，你開始變得敏感，你不再對什么都顯得無動聲色，你更喜歡打著陽光調(diào)，吟唱過往時光……

花兒紅遍了整個春天，卻無法在你的眉間覓得一絲笑靨。當秋天的繁花落盡，一切卻又變得如夢似煙。你活在自己的世界里，你把一切都變得遙遠，就像彼岸的紫丁香，只會出現(xiàn)在夢里，引起人心中的一份遐想！

青衣本有情，可是當你付諸的情都滴落大海的時候，你是否也感覺到了絕望？就像你試圖踏足你所能企及的每一個地方，可是你做不到。你希望珍惜你生命里的每一個過客，卻也力不從心。到最后，你也只能牽強地說：過客只是過客。別人聽的心灰意冷，你也不再妄自輕狂。你騙了自己，你實際是在乎的，你只是不愿意舍棄，舍棄你的那顆心。

你不敢想象，當你行駛在旅途中，一個吸引你的地方出現(xiàn)了，你不再前行，而是停下腳步，獨自傾心，你喜歡平靜的生活，可是你說青衣，你有你改變不了的宿命。你不可以放棄它們，因為放棄它們就是背叛自己。

你洞開了角色的靈魂，你成了舞臺的主宰。所有的悲歡離合都成了滄海，你忘記了，或者說是與其融為一體。他的悲歡離合讓你觸目驚心，你無法自拔，因為你陷進了人物的心靈你端望著整個世界，卻沒想到終究只是一場繁華。

皓月當空，你依然是一個，一個人行走，無論白天與黑夜的行走，很多人都與你擦肩而過，他們甚至感覺不到你的氣息，你當然也總是面無表情，恰似如畫皮，沒有人看見你的那一面。

繭蛻成蝶，你耗盡全部的情感演了一出霸王別姬，你的深情，成了烏江的眼淚，你的一曲相思引，造就了虞姬的千古紅顏。沒有人看見，你此刻糾結(jié)的心，因為他們不知道，你的華麗妝容下，有著一顆脆弱的心……

吃墨水范文第3篇

材料：水磨年糕200克、青菜100克、枸杞5克、鹽適量、油適量。

做法：1、將水磨年糕去膜，浸泡，洗凈，撈出，洌水備用；

2、鍋內(nèi)放入清水800毫升，加枸杞一小撮，煮沸；

3、煮沸的清水，加年糕，不斷攪拌，防止粘鍋；

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，山水畫，便成為了藝術(shù)家們表達愛恨情仇和筆意的最富有的題材和對象。它不僅是中國人情思中最為厚重的沉淀之一，更是通過這山水之外的山水所表現(xiàn)出來的，人們有史以來“以山為德、以水為性”的內(nèi)在修性。于是，那一草一木，那一石一峰，那一泉一澗，也便有了思想，有了精神，有了靈魂。這種意蘊和感悟，在田在武先生的作品中，便被表現(xiàn)得淋漓之至。

真正認識田先生，是從他的《天凈沙》開始的。這是一幅色彩平實無華，用筆肅穆淡雅，空間充盈飽滿又不乏空靈流韻之作。連綿的遠山，或裸石林立，或橫臥如丘，或曲徑蜿蜒，山間、云霧幾許，似飛若絮，近嵌山體，遠接青天，給人以雨后初晴、天地一色、若塵若仙之美；眼前高樹近枝，密而不亂，或橫或斜，或單或叢，或青翠欲滴，或葉黃欲飛，與遠山柔云遙相呼應(yīng)；題跋筆體細小，片生片連，一若祥云高掛天邊，又若鴻雁漸行漸遠，與整幅畫體渾然天成，可謂盡得其妙。頓時，“空山新雨后，天氣晚來秋”那種清新和空靈自心中油然而生，這就恰好有意無意地詮釋了馬致遠《天凈沙?秋思》的另一層含義，完成了吳西逸《天凈沙?閑題》的完美切合。

中國書畫之妙，妙于意境，中國書畫之精，精于筆墨。虛至極，極至大空，靜至極，極至真情。說到這里，這就不得不提到田先生的另一幅大作《印象紅葉谷》。紅葉谷是田先生家鄉(xiāng)最自然、最純真的天然美景。這里，沒有人為的雕刻，沒有虛幻的故事，有的只是人與自然的完美和諧，有的只是心靈與圣靈的對話。田先生將人們這種崇尚人與自然的共存共融，渴望達到一種“天人合一”的境界之思維隨性而作，以夢為線，化幻為境，以心為色，灑墨為情，為我們呈現(xiàn)了一個藝術(shù)家高雅志趣和一腔真情。

該畫畫幅巨大，采用240cmx180cm豎幅版式。畫風一掃一貫擅長的淺墨輕淡、實空相間之常態(tài)，取而代之以偏暖的紅紫為基色，全幅全景，表達了作者對家鄉(xiāng)對故土那份眷戀，那份不舍，那份摯愛。全幅墨線密集，色相飽滿，暢意處若行云流水，墨見五彩，柔情萬種；狂放處枯意見骨，筆斷意連。畫山，綿綿不絕；畫枝，質(zhì)感入絲；畫水，波光粼粼。山水亭榭，筆筆入心。靜心若聞鳥語，細瞧明月有聲，讀者無不似有“人在墨中走，心在畫中游”之感慨。若不是作者對那些凡塵世俗的雜念剔除身外，若不是作者對家鄉(xiāng)的山水了熟于心，若沒有作者對傳統(tǒng)與現(xiàn)代技法的納古出新，若沒有作者對萬物生靈的深刻透悟，這種畫質(zhì)的靜美、這種內(nèi)在的力量也只能是有意無力或是力不從心了。

我們從田先生的山水中，不僅能體味到具有老子思想的精神內(nèi)涵，奇特、博大、譎，藏著道骨仙風的山，也能體味到夢幻中，飄渺幻化之意象，精神家園的夢中之山。田先生對整體實物完美掌控能力和筆墨色彩的靈活運用不僅得益于他二十余年來對傳統(tǒng)與現(xiàn)代書畫筆墨孜孜不倦的吸納、比較與研究，更得益于他善意盡美的文學修養(yǎng)和內(nèi)心深處的那份純真與追求。

田先生是一個謙虛謹慎，不善多言，情感細膩，為人忠厚之人。如果說能埋頭專攻于業(yè)、潔身自好，是促使他創(chuàng)作出優(yōu)秀作品的基本來源，那熱愛生活、淡泊名利便是促使他走向藝術(shù)巔峰的根本品性。

我們從他的畫中，分明感受到了一種獨特的山魂與靈氣。也從他那一幅幅濃淡墨色轉(zhuǎn)換間，感悟出了他那善美品格與至高境界。