当代浙江花鸟画代表画家的整体亮相—观赏“浙江花鸟画名家作品展”

●蔡 荣



当代浙江花鸟画代表画家的整体亮相—观赏“浙江花鸟画名家作品展”

●蔡 荣

《啸傲雄风振海天》 叶尚青A painting by Ye Shangqing

《春风拂槛露华浓》 马其宽A painting by Ma Qikuan

花与鸟，是人类生活中美好的物象。一场花鸟画大展迎来了三月的春光。

从2015年12月25日开展持续到2016年2月26日结束的“画风画峰—浙江花鸟画名家作品展”意在接续中国花鸟画的优良传统：“画风”，是指画家的艺术风格；“画峰”，是指参展艺术家达到的艺术高度。此次画展展示了朱颖人、叶尚青、卢坤峰、杜曼华、马其宽、徐家昌、张浩、张华胜、闵学林、何水法、吴静初十一位老画家（年龄最长者86岁，最少者68岁）的作品。6个展厅、300余幅作品，移步换景。这十一位画家的作品基本涵盖了当代浙江花鸟画的风貌。

中国花鸟画源远流长

以花鸟、走兽、鱼虫等为表现对象的花鸟画是中国画的三大画种（人物画、山水画、花鸟画）之一，起源于距今七千年前的新石器时代，成熟于五代时期（公元907—960年），此后历代皆有不同风貌。浙江自南宋（公元1127—1279年）以来，即为中国花鸟画之重镇，涌现出李迪、王冕、吕纪、徐渭、陈洪绶、任伯年、吴昌硕、潘天寿等花鸟画大师。

中国的花鸟画按照表现手法来分有工笔和意笔两大类，工笔花鸟画的前身是院体花鸟画，即五代两宋以及明代前中期的皇家画院所盛行的体格，画风严谨细腻，注重形神兼备。

意笔花鸟画又有大写意、小写意之分。大写意花鸟画用笔奔放，有遗形取神之妙，小写意花鸟画则兼顾用笔和形象的生动性。另有一种兼工带写，融合工笔和意笔两种技法，与小写意画法较为接近。当代浙江意笔花鸟画较为兴盛。

《清风疏影》 卢坤峰 A painting by Lu Kunfeng

典型的大写意花鸟画画家及其作品

画展中叶尚青、马其宽、何水法、张浩、闵学林是典型的大写意花鸟画家。

叶尚青的画深受其师潘天寿影响，弃巧求拙，并擅长指墨画。叶尚青曾去加拿大访问、作画，温哥华的《华侨日报》评论称他是“画风奇拙新颖”、“学古而不泥古，有着创新精神”的画家。2015年11月“叶尚青书画大展”在浙江美术馆举行。这次画展中的作品《啸傲雄风振海天》，画面上一只雄鹰长啸，腾升海天，两只小鹰振翅奋飞，笔力雄健，气势磅礴。

中国画中有打破时空的观念，可以根据画面效果需要将不同季节开放的花卉融于一幅画中。马其宽的《春风拂槛露华浓》一画便是如此，画中牡丹和水仙并非同一季节开放的花卉。此画的画题，取唐代诗人李白的诗意。马其宽的大写意花鸟画，直承吴昌硕、潘天寿一路传统，以中国书法的篆书和隶书笔法入画，极具力度，喜用焦墨，画风老辣、苍劲。

性格豪迈的何水法，其大写意花鸟画气魄雄伟，色彩瑰丽，充满力度和阳刚之美，且善于画巨幅大画，在当今中国画坛面貌独具，是一位具有全国影响的画家。《新绿成荫》画盛开的红色杜鹃花，整株花的枝干自画幅的右下方伸入画面，花、叶蓬勃生长，这种构图和传统的中国花鸟画构图拉开了距离，很具现代感和视觉冲击力。

张浩的大写意花鸟画注重画面中点、线、面的关系处理，画风简练、幽美。作品《荷塘》黑色的荷叶，白色的荷花，黑白相间，分外奇瑰，充分显示了他的绘画风格。

闵学林在书法上用力甚多，擅长把中国传统书法和绘画融为一体，又增加形式感的探索。文人画意味浓郁。展出的《梅妻鹤子图》，大雪纷飞间梅枝铁干，绿梅绽放，双鹤引颈向梅，吸引很多人观看。所谓“梅妻鹤子”，是指宋代诗人林逋拒绝出仕做官，且终身不娶，隐居在杭州孤山，他以梅花为妻子，把仙鹤当作儿子，终老一生。

美在大、小写意之间

朱颖人、徐家昌、张华胜、吴静初这四位画家的画风在大、小写意之间。

《新绿成荫》 何水法A painting by He Shuifa

此次展览中年龄最大的老画家是朱颖人。这位中国美术学院教授、“老大哥”在开幕式上首先发言：“我的老师潘天寿先生讲过一句话，‘既要横向比较，也要纵向比较’，把自己放在同辈与历史中，就知道还有哪里不足，还有哪些地方需要努力。浙江的花鸟画，是值得大书特书的。”朱颖人的画受潘天寿、吴茀之先生影响较深，画风温文尔雅，笔底的松鼠尤为灵动可爱。画作《到处赏春光》，一只松鼠在树枝上细窥人间春色。这分明是朱颖人的特色。

徐家昌深得陆抑非先生艺术精髓，工笔、写意兼能，尤擅小写意花鸟画，是—位掌握技法较为全面的花鸟画家，他所画之鸟，形态生动，变化多端，有呼之欲出之感。作品《雨过泉声响岭背》有花有鸟、有石有水，显示了他的画风。

张华胜的作品独具想法，视角独特，构图意识强烈。这种独特的画风也显露在他的作品《鸿雁》中，数只鸿雁在画面上从上到下排立，独特的构图与寓意引人入胜。

另有一位自学成才的画家吴静初，他善于运用淡墨和色彩，并将书、画、印融为一体。作品《共怜芳意晚》就很好地体现了他的艺术特色。

《荷塘》 张 浩 A painting by Zhang Hao

工、写兼长的老画家和纯正的工笔女画家

久负盛名的老画家卢坤峰，作品面貌尤为独特。他的画，工、写兼长，对于宋元传统花鸟画用功尤深。他善于运用各种表现手法，画面清雅秀润，并将诗、书、画、印有机融合。他的水墨兰竹格调高雅，潇洒出尘，这方面的艺术造诣闻名中外。《清风疏影》一画很能展示他的全面功底，竹枝摇曳，兰叶舒展，左上方配以工笔的蛱蝶，写意与工笔技法和谐地融为一体。他的画，也是中国水墨画的典型，中国画有“墨分五彩”之说，意为墨调和水就可以变化出多种“色彩”（不同的黑色），这幅《清风疏影》就是仅用水墨而不借助其他任何颜色，表现了兰、竹、蝶、石四种物象的精神。

这个展览中唯一一位女画家杜曼华，是一位纯正的工笔花鸟画家。她的画体现出女画家对生活的细腻感受，意境悠远。具有简、淡、净、静的风格。《凉月照梧桐》一画用极为简单的素材—几枝法国梧桐、一轮新月、三只栖息的小鸟，营造出秋天天气新凉、月色朦胧的意境，取得了以少胜多的艺术效果，使观者回味无穷。

如果说，浙江现当代花鸟画第一代画家是以潘天寿、吴茀之、诸乐三、陆抑非、邓白等老先生为代表的话，那么“画风画峰—浙江花鸟画名家作品展”就是浙江花鸟画第二代代表画家的整体亮相，他们各有“画风”，各树“画峰”，展现出富有时代特色和地域风情的丰富性、多样性。他们的作品不仅是传统花鸟画的接续和发展，也是奉献给人们的花鸟之美的视觉盛宴。

Exhibition Showcases Beauty of Flowers and Birds

By Cai Rong

《梅妻鹤子图》 闵学林 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.

从左到右 《共怜芳意晚》 吴静初； 《到处赏春光》 朱颖人； 《雨过泉声响岭背》 徐家昌； 《鸿雁》 张华胜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.

《凉月照梧桐》 杜曼华A painting by Du Manhua