當代浙江花鳥畫代表畫家的整體亮相—觀賞“浙江花鳥畫名家作品展”

●蔡 榮

?

當代浙江花鳥畫代表畫家的整體亮相—觀賞“浙江花鳥畫名家作品展”

●蔡 榮

《嘯傲雄風振海天》 葉尚青A painting by Ye Shangqing

《春風拂檻露華濃》 馬其寬A painting by Ma Qikuan

花與鳥，是人類生活中美好的物象。一場花鳥畫大展迎來了三月的春光。

從2015年12月25日開展持續(xù)到2016年2月26日結束的“畫風畫峰—浙江花鳥畫名家作品展”意在接續(xù)中國花鳥畫的優(yōu)良傳統(tǒng)：“畫風”，是指畫家的藝術風格；“畫峰”，是指參展藝術家達到的藝術高度。此次畫展展示了朱穎人、葉尚青、盧坤峰、杜曼華、馬其寬、徐家昌、張浩、張華勝、閔學林、何水法、吳靜初十一位老畫家（年齡最長者86歲，最少者68歲）的作品。6個展廳、300余幅作品，移步換景。這十一位畫家的作品基本涵蓋了當代浙江花鳥畫的風貌。

中國花鳥畫源遠流長

以花鳥、走獸、魚蟲等為表現(xiàn)對象的花鳥畫是中國畫的三大畫種（人物畫、山水畫、花鳥畫）之一，起源于距今七千年前的新石器時代，成熟于五代時期（公元907—960年），此后歷代皆有不同風貌。浙江自南宋（公元1127—1279年）以來，即為中國花鳥畫之重鎮(zhèn)，涌現(xiàn)出李迪、王冕、呂紀、徐渭、陳洪綬、任伯年、吳昌碩、潘天壽等花鳥畫大師。

中國的花鳥畫按照表現(xiàn)手法來分有工筆和意筆兩大類，工筆花鳥畫的前身是院體花鳥畫，即五代兩宋以及明代前中期的皇家畫院所盛行的體格，畫風嚴謹細膩，注重形神兼?zhèn)洹?/p>

意筆花鳥畫又有大寫意、小寫意之分。大寫意花鳥畫用筆奔放，有遺形取神之妙，小寫意花鳥畫則兼顧用筆和形象的生動性。另有一種兼工帶寫，融合工筆和意筆兩種技法，與小寫意畫法較為接近。當代浙江意筆花鳥畫較為興盛。

《清風疏影》 盧坤峰 A painting by Lu Kunfeng

典型的大寫意花鳥畫畫家及其作品

畫展中葉尚青、馬其寬、何水法、張浩、閔學林是典型的大寫意花鳥畫家。

葉尚青的畫深受其師潘天壽影響，棄巧求拙，并擅長指墨畫。葉尚青曾去加拿大訪問、作畫，溫哥華的《華僑日報》評論稱他是“畫風奇拙新穎”、“學古而不泥古，有著創(chuàng)新精神”的畫家。2015年11月“葉尚青書畫大展”在浙江美術館舉行。這次畫展中的作品《嘯傲雄風振海天》，畫面上一只雄鷹長嘯，騰升海天，兩只小鷹振翅奮飛，筆力雄健，氣勢磅礴。

中國畫中有打破時空的觀念，可以根據(jù)畫面效果需要將不同季節(jié)開放的花卉融于一幅畫中。馬其寬的《春風拂檻露華濃》一畫便是如此，畫中牡丹和水仙并非同一季節(jié)開放的花卉。此畫的畫題，取唐代詩人李白的詩意。馬其寬的大寫意花鳥畫，直承吳昌碩、潘天壽一路傳統(tǒng)，以中國書法的篆書和隸書筆法入畫，極具力度，喜用焦墨，畫風老辣、蒼勁。

性格豪邁的何水法，其大寫意花鳥畫氣魄雄偉，色彩瑰麗，充滿力度和陽剛之美，且善于畫巨幅大畫，在當今中國畫壇面貌獨具，是一位具有全國影響的畫家。《新綠成蔭》畫盛開的紅色杜鵑花，整株花的枝干自畫幅的右下方伸入畫面，花、葉蓬勃生長，這種構圖和傳統(tǒng)的中國花鳥畫構圖拉開了距離，很具現(xiàn)代感和視覺沖擊力。

張浩的大寫意花鳥畫注重畫面中點、線、面的關系處理，畫風簡練、幽美。作品《荷塘》黑色的荷葉，白色的荷花，黑白相間，分外奇瑰，充分顯示了他的繪畫風格。

閔學林在書法上用力甚多，擅長把中國傳統(tǒng)書法和繪畫融為一體，又增加形式感的探索。文人畫意味濃郁。展出的《梅妻鶴子圖》，大雪紛飛間梅枝鐵干，綠梅綻放，雙鶴引頸向梅，吸引很多人觀看。所謂“梅妻鶴子”，是指宋代詩人林逋拒絕出仕做官，且終身不娶，隱居在杭州孤山，他以梅花為妻子，把仙鶴當作兒子，終老一生。

美在大、小寫意之間

朱穎人、徐家昌、張華勝、吳靜初這四位畫家的畫風在大、小寫意之間。

《新綠成蔭》 何水法A painting by He Shuifa

此次展覽中年齡最大的老畫家是朱穎人。這位中國美術學院教授、“老大哥”在開幕式上首先發(fā)言：“我的老師潘天壽先生講過一句話，‘既要橫向比較，也要縱向比較’，把自己放在同輩與歷史中，就知道還有哪里不足，還有哪些地方需要努力。浙江的花鳥畫，是值得大書特書的。”朱穎人的畫受潘天壽、吳茀之先生影響較深，畫風溫文爾雅，筆底的松鼠尤為靈動可愛。畫作《到處賞春光》，一只松鼠在樹枝上細窺人間春色。這分明是朱穎人的特色。

徐家昌深得陸抑非先生藝術精髓，工筆、寫意兼能，尤擅小寫意花鳥畫，是—位掌握技法較為全面的花鳥畫家，他所畫之鳥，形態(tài)生動，變化多端，有呼之欲出之感。作品《雨過泉聲響嶺背》有花有鳥、有石有水，顯示了他的畫風。

張華勝的作品獨具想法，視角獨特，構圖意識強烈。這種獨特的畫風也顯露在他的作品《鴻雁》中，數(shù)只鴻雁在畫面上從上到下排立，獨特的構圖與寓意引人入勝。

另有一位自學成才的畫家吳靜初，他善于運用淡墨和色彩，并將書、畫、印融為一體。作品《共憐芳意晚》就很好地體現(xiàn)了他的藝術特色。

《荷塘》 張 浩 A painting by Zhang Hao

工、寫兼長的老畫家和純正的工筆女畫家

久負盛名的老畫家盧坤峰，作品面貌尤為獨特。他的畫，工、寫兼長，對于宋元傳統(tǒng)花鳥畫用功尤深。他善于運用各種表現(xiàn)手法，畫面清雅秀潤，并將詩、書、畫、印有機融合。他的水墨蘭竹格調高雅，瀟灑出塵，這方面的藝術造詣聞名中外。《清風疏影》一畫很能展示他的全面功底，竹枝搖曳，蘭葉舒展，左上方配以工筆的蛺蝶，寫意與工筆技法和諧地融為一體。他的畫，也是中國水墨畫的典型，中國畫有“墨分五彩”之說，意為墨調和水就可以變化出多種“色彩”（不同的黑色），這幅《清風疏影》就是僅用水墨而不借助其他任何顏色，表現(xiàn)了蘭、竹、蝶、石四種物象的精神。

這個展覽中唯一一位女畫家杜曼華，是一位純正的工筆花鳥畫家。她的畫體現(xiàn)出女畫家對生活的細膩感受，意境悠遠。具有簡、淡、凈、靜的風格。《涼月照梧桐》一畫用極為簡單的素材—幾枝法國梧桐、一輪新月、三只棲息的小鳥，營造出秋天天氣新涼、月色朦朧的意境，取得了以少勝多的藝術效果，使觀者回味無窮。

如果說，浙江現(xiàn)當代花鳥畫第一代畫家是以潘天壽、吳茀之、諸樂三、陸抑非、鄧白等老先生為代表的話，那么“畫風畫峰—浙江花鳥畫名家作品展”就是浙江花鳥畫第二代代表畫家的整體亮相，他們各有“畫風”，各樹“畫峰”，展現(xiàn)出富有時代特色和地域風情的豐富性、多樣性。他們的作品不僅是傳統(tǒng)花鳥畫的接續(xù)和發(fā)展，也是奉獻給人們的花鳥之美的視覺盛宴。

Exhibition Showcases Beauty of Flowers and Birds

By Cai Rong

《梅妻鶴子圖》 閔學林 A painting by Min Xuelin

An exhibition went on from December 25, 2015 to February 26, 2016 at Zhejiang Art Museum showcasing more than 300 masterpieces in six halls by 11 contemporary flower-bird painting masters of Zhejiang. They were Zhu Yinren, Ye Shangqing, Lu Kunfeng, Du Manhua, Ma Qikuan, Xu Jiachang, Zhang Hao, Zhang Huasheng, Min Xuelin, He Shuifa and Wu Jingchu. The artists are all in their golden ages: the oldest being 86 years old and the youngest 68 years old. They are considered as the most representative of the contemporary flower-bird art in the province.

The traditional Chinese art covers three major subjects: figures, landscape, and flower-bird. The flower-bird category includes images of flowers, animals, fish, and insects. This category goes back to the Neolithic Age and matured in the 10th century. Since the Southern Song (1127-1279), Zhejiang has produced important flower-bird masters such as Li Di, Wang Mian, Lyu Ji, Xu Wei, Chen Hongshou, Ren Bonian, Wu Changshuo, and Pan Tianshou. These masters of yesteryears are key chapters in the history of traditional Chinese painting.

從左到右 《共憐芳意晚》 吳靜初； 《到處賞春光》 朱穎人； 《雨過泉聲響嶺背》 徐家昌； 《鴻雁》 張華勝From left to right: paintings by Wu Jingchu, Zhu Yinren, Xu Jiachang and Zhang Huasheng

The 11 artists are of different styles. Ye Shangqing, Ma Qikuan, He Shuifa, Zhang Hao and Min Xuelin paint in a style that gives their imagination and freehand brushwork the largest possible freedom.

Ye Shangqing studied under the tutelage of Pan Tianshou. Like his master, he seeks ancient simplicity and averts elaborate strokes in painting and he is good at painting with his fingers. Critics agree that his artistic quest is innovative and forward-looking. Ma Qikuan highlights calligraphy in his paintings. One of his paintings on display showcased the unorthodox treatment of time and space in traditional Chinese painting. Peonies and daffodils, which bloom in different seasons, bear flowers in one painting. He Shuifa enjoys national renown for his robust and ebullient expressions. He seeks full representation in largesize painting.

Zhu Yinren, Xu Jiachang, Zhang Huasheng and Wu Jingchu choose the middle way in their freehand style. They don’t go all out with their freehand impressions. They tend to pay some attention to minute details.

Zhu Yinren, a professor with China Academy of Art who studied under the tutelage of Pan Tianshou, presented a painting of a squirrel at the exhibition. The painting shows the influences of Pan Tianshou and Wu Fuzhi. A versatile artist with a full range of techniques, Xu Jiachang inherits the best of Lu Yifei and has a full range of subjects. The birds he paints are most vivid. Zhuang Huasheng is best known for his unique compositions and perspectives. His Geese showed his unusual thinking. The geese follow one another in the sky, attracting the eye of viewers.

Flower-bird painting allows artists to go to smallest details. Lu Kunfeng and Du Manhua represented this style at the exhibition. Lu is able to swing between the minute painting and freehand painting. He has had profound studies of the flower-bird masterpieces of the Song and the Yuan. He integrates poetry, calligraphy and seal into his painting. Bamboo in Winds on display well illustrated his versatility. A butterfly is painted in the minute style whereas the bamboo is in the freehand style. Moreover, the painting also demonstrated the artist’s superb ink techniques. In traditional Chinese painting, ink can have many shades as if they were different colors. This painting showed the ink colors.

Du Manhua, the only woman represented in the exhibition, demonstrated her uniqueness by showing her minute style. Unlike Lu Kunfeng and other artists who can swing between the freehand and the minute or integrate the two in one painting, Du focuses on details. Her expressions are simple, quiet, light.

If Pan Tianshou, Wu Fuzhi, Zhu Lesan, Lu Yifei, and Deng Bai were the first generation of flower-bird masters of the modern times, then the eleven artists on display at the exhibition are the second-generation flower-bird painting masters of modern times. They displayed regional characteristics and diversity as well as the influences of the modern times.

《涼月照梧桐》 杜曼華A painting by Du Manhua